Oswaldo Vigas

hideThis article has multiple issues. Please help or discuss these issues on the talk page. (Learn how and when to remove these template messages) This article needs additional citations for verification. Please help by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources:  –  ·  ·  · scholar · JSTOR (October 2019) (Learn how and when to remove this template message) This article contains wording that promotes the subject in a subjective manner without imparting real information. Please remove or replace such wording and instead of making proclamations about a subject's importance, use facts and attribution to demonstrate that importance. (October 2019) (Learn how and when to remove this template message) (Learn how and when to remove this template message)

Oswaldo Vigas
Oswaldo Vigas at his studio (2013).
Born	(1926-08-04)August 4, 1926 Valencia, Carabobo, Venezuela
Died	April 22, 2014(2014-04-22) (aged 87) Caracas, Capital District, Venezuela
Education	Universidad de los Andes, École des Beaux-Arts, Sorbonne
Alma mater	Universidad Central de Venezuela
Movement	late Modernism

Oswaldo Vigas (August 4, 1926 – April 22, 2014) was a Venezuelan artist, best known as a painter and muralist. His work includes painting, sculpture, prints, drawings, ceramics and tapestries. His artwork was created between France and Venezuela, and it's an original synthesis of the cultural roots of Latin America and the latest artistic currents of modernity. He has had over one hundred solo exhibitions and is represented in numerous public institutions and private collections around the world. He is predominantly recognized as a self-taught artist and painter.^[1]

Early life and education[]

Oswaldo Vigas was born in Valencia, Carabobo, Venezuela on August 4, 1926. He identified as mestizo, a term for a person of mixed indigenous and Spanish heritage.^[1] He started painting at age 12 when his father died, mostly paintings featuring the human body.^[2]

He went to college and studied medicine at the University of the Andes (Venezuela) (Universidad de los Andes) and at the Universidad Central de Venezuela in Caracas, hoping to be a pediatrician. He received a degree in 1951.^[3] While studying, he took several art classes at the , and attended the , where he became acquainted with painters like Manuel Cabré and Pedro Ángel González, among others.

His early paintings focus on the human figure – mostly a female figure – pre-announcing the theme that would remain a constant throughout his career: the witches (brujas). His works became gestural and he took an interest in pre-Columbian cultures and pottery, specifically Venus de Tacarigua figurines.^[1][3] Progressively, he departed from conventional depictions as his line became visceral and concerned with pre-Columbian representation, which would marked a milestone in his works.

The witch series of paintings was very controversial and polarizing, they won him three important art prizes in Venezuela.^[2] In 1952 he received the National Visual Arts Award for his painting La gran bruja (1951) and had a major solo exhibition at the Museo de Bellas Artes (Museum of Fine Arts) in Caracas.^[1][3] One of these prize granted him a plane ticket to Paris, where he relocated the same year, in 1952.^[1][2]

Work[]

Paris[]

When Vigas arrived in Paris, he studied at the École des Beaux-Arts^[1] and took open courses at the Sorbonne. While in Paris, he was commissioned to produce five mosaic murals that were to become part of the Universidad Central de Venezuela, declared a World Heritage Cultural Site by UNESCO in 2000, a great example of the total integration of art and architecture, conceived by Architect Carlos Raúl Villanueva^[4] que el artista realizó en París.,^[5] with the participation of national and international artists such as Jean Arp, Alexander Calder, Wifredo Lam, Fernand Léger, Mateo Manaure, Alejandro Otero, Víctor Valera, and Victor Vasarely, among others.

During most of the 1950s, his works shifted away from the human figure towards constructivism and abstraction. In 1953, he participated in the I São Paulo Biennial and in a group show at the Musée d’Art Moderne de la Ville de Paris, among other exhibitions. Between 1953 and 1958, the artist exhibited regularly in France and Venezuela. In 1954, he represented Venezuela at the XXVII Venice Biennale, and was part of the Painters of Venezuela traveling exhibition at the Pan-American Union, sponsored by the Smithsonian Institution, Washington D.C.

Mural at Universidad Central de Venezuela, 1954

During the late 1950s to mid 1960s, while still living in France, Vigas was invited to participate at an important survey about Latin American art in which he was awarded first prize: the Gulf-Caribbean Art Exhibition, curated by Lee Malone at The Museum of Fine Arts, Houston. This exhibition traveled later to the Dallas Museum of Fine Arts, The institute of Contemporary Art, Boston; The Munson-Williams Proctor Institute, Utica, The Carnegie Institute, Pittsburgh, and the Colorado Springs Fine Art Center. Also, he had exhibitions at the Slater Memorial Museum of Norwich, Connecticut and the University of Nebraska Art Gallery, and participated in the Contemporary Drawings from Latin America show at the Pan-American Union in Washington, D.C. He was included in another large survey exhibition, South American Art Today, curated by José Gómez Sicre at the Dallas Museum of Fine Arts. Well versed in anthropology and primitive cultures, influenced by a visit to Picasso in 1955, Vigas channeled his works of the 1950s into a search for an authentic language, combining gestural, geometric and figurative paintings that led him progressively to reveal his connection with early cultures, and for the notion of a personal identity marked by telluric, magical and personal imaginative resources found in his works from the 1960s onward.

He lived in Paris for twelve years and made many friends including Fernand Léger, Max Ernst, Wifredo Lam,^[2] and it's where he met Janine, his French born wife and lifelong companion. In 1964, he moved back to Valencia, Venezuela, along with Janine, and continued to exhibit his work thoroughly throughout the country. In 1967, his son Lorenzo was born, and in 1970, he relocated to Caracas.

Venezuela[]

The 1960s marked the artist's informalist period; his thick black lines dissolved the figure into abstract volumes and shapes. Soon after his arrival in Venezuela, he was named Cultural Director of the Universidad de Los Andes. Without relinquishing his unstoppable work as an artist, he accepted an appointment as Artistic Director of the (INCIBA), promoting the work of artists and exhibitions, as well as contributing to the creation of national Salons and awards to help artists from around the country. He remained in office until 1972.

From the mid 60's onwards, Vigas work progressively shifted back from informalism to a new figurative phase, in which abstract shapes began to look like figures once again. In 1976, he was part of the group show Latin Excellence Contemporary Hispanic Art, Xerox Corporation Center, New York, along with Matta, Canogar, Orozco, and others. In the 1980s, he participated in the Chicago International Art Exhibition, Navy Pier, Chicago; Venezuelan Art Today, 350 Years, traveling to Boston, Washington and New York; 30 artistas andinos latinoamericanos, at the Pittsburgh Museum, and The Latin American Graphic Arts Biennial, at the in New York. Also during the 1980s, Vigas produced a series of tapestries and ceramic works, and his first bronze-cast sculptures.

In 1990, the organized a major retrospective of his works, showcasing not only paintings and sculptures but also tapestries, ceramics and jewelry. , the oil company and subsidiary of PDVSA, produced a documentary film about his work.^[when?]

In 1992 the city of Monte Carlo honored him with the , and the Monnaie de Paris, organized a large retrospective, Oswaldo Vigas, from 1952 to 1993, showcasing one hundred and thirty two works comprising paintings, ceramics and sculptures.

During his later years, Vigas continued to work and exhibit worldwide, gaining further international recognition. In 2012 he was invited to participate in the Un Coeur, un Monde group show that traveled through France, the United States, Vietnam, Australia, Brazil and Japan. He was also invited to exhibit at The Latin American & Caribbean Contemporary Art Today survey at the , Tokyo, Japan. Oswaldo Vigas was one of the most prominent and prolific artists of his generation in Venezuela.

In 2008, he was designated .

Death and legacy[]

Vigas died on 22 April 2014 in Caracas, aged 87.^[6] His wife Janine Vigas and his son Lorenzo, (director, screenwriter and film producer) survive him.^[6]

The Oswaldo Vigas Foundation (Fundación Oswaldo Vigas) was created to continue to expand his art legacy worldwide.^[2][7] A major anthological exhibition travelled throughout the Americas to Peru, Chile, and Colombia, titled Oswaldo Vigas Anthological 1943- 2013.

His son the filmmaker Lorenzo Vigas, with his first feature film From Afar, won the Golden Lion for best film of the 2015 Venice Film Festival.

Controversy[]

Many decades of Vigas work feature a clear influence from indigenous art of South America and Venus de Tacarigua figurines, it has been questioned if this work is a body of abstraction or rather cultural appropriation.^[3] This issue is similar to Picasso's African Period and the use of African masks in his work.^[3]

Awards and honors[]

He received a Doctor Honoris Causa degree from the Universidad de Los Andes in 1999, and from the Universidad Gran Mariscal de Ayacucho (UGMA), in Barcelona, Venezuela.

Vigas received the International Association of Art Critics Award twice, in 2008 and 2014; in 2004, he was the recipient of the Latin Union Award in Washington, DC.

Exhibitions[]

This section needs additional citations for verification. Please help by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2019) (Learn how and when to remove this template message)

Solo exhibitions[]

A major anthological exhibition of Vigas' work traveled throughout the Americas. The first installment of Oswaldo Vigas Anthological: 1943- 2013 was held at the Museum of Contemporary Art in Lima, Peru; the show then traveled to the National Museum of Fine Arts in Santiago, Chile, and it will open in Bogotá, Colombia in July 2015.^[3]

This is a listing of select exhibitions of Vigas.

Group exhibitions[]

Publications[]

• Oswaldo Vigas: antológica 1943 - 2013 (Exhibition catalog). Venezuela: Museo Nacional de Bellas Artes. 2015. ISBN 9789807690003.
• Oswaldo Vigas, Sortilèges des Tropiques: peintures, tapisseries, sculptures, céramiques 1950-2005 [Oswaldo Vigas, Charm of the Tropics: paintings, tapestries, sculptures, ceramics 1950 – 2005] (Exhibition catalog). Angers, France: Musée Jean Lurçat et de la Tapisserie Contemporaine. 2005. ISBN 9782901287902.
• Oswaldo Vigas: ideografiás de Pariś, 1952-1957 (Exhibition catalog). Caracas, Venezuela: Embajada de Francia in Venezuela, Museo de Arte Contemporańeo de Caracas, Museo de Arte Contemporáneo de Caracas Sofía Imber. 2002. ISBN 9789802722266.

References[]

External links[]

• Official website (in Spanish)